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54 CINEMONTAGE / SEP-OCT 14 LABOR MAT TERS per family to maintain mortgage payments and consumption, have dramatically added to time pressures on the working class. Without time to read, think, meet and act, it is difficult to imagine building a movement that can take on social change in a lasting way. A successful, established movement might generate excitement among both existing and new activists and even make formerly passive "fellow-travellers" ("recuperating from frustrated lives") politically active. This might help, argues Gindin, but it doesn't solve the problem of individuals finding adequate time to commit to political engagement on a scale that is essential. "Any solution will have to include deep cultural changes and a radical redistribution of income," adds Gindin. f she is recording a song, and the crew hears the proposal on an open mic. The song "Lose That Long Face," a lifeless imitation of similar numbers in MGM musicals, was also cut; it was to bracket an emotional breakdown by Vicki/Esther before producer Niles in her dressing room. The laughter- through-tears transition from sound stage to dressing room and back was not needed because it trivialized the raw emotions revealed by a woman who cannot cope with a drunken, unemployed actor-husband who begs Niles to rehire him. Garland was still unreliable and failed to appear for filming, causing over a month in delays. The cost of re-shooting a month's work also added to the budget. Eventually, the $1.5 million budget ballooned to over $5 million, resulting in the most expensive movie Warner had made at that time. Intended to be a top moneymaker, the film grossed just over a reputed $600,000 on its initial release, a financial failure. The film received six Oscar nominations (but no wins): Actor (Mason), Actress (Garland), Set Direction-Set Decoration, Costume Design, Music and Original Song ("The Man That Got Away"). Though Garland was expected to win the Academy Award, she lost to Grace Kelly, who coincidentally also played the wife of an alcoholic actor in The Country Girl (1954). Warner went on to hate Garland for the rest of his life because of the film, and cursed her before Natalie Wood and Robert Wagner when they campaigned for her to play Mama Rose in Gypsy (1962). Curiously, Mason gave the eulogy at Garland's funeral in 1969. In 1983, film scholar Ronald Haver released a restored version of the original cut of the 1954 A Star Is Born, featuring scene reconstruction from still photographs and soundtracks, and that is now considered the preferred version. He also chronicled the sordid history of the film in his 1988 book A Star Is Born: The Making of the 1954 Movie and Its 1983 Restoration. Even if Eastwood's version never materializes, this story is bound to be remade yet again. f introduction, "The art of Foley is one I honor. I am grateful to have been a part of the art, and I am more grateful to know such talented sound professionals who are a piece of that world." Comprising a virtual master class on leading-edge Foley techniques, The Foley Grail covers just about everything a practitioner or observer of the Foley process would need to create convincing sounds for a variety of film and television media, in addition to podcasts, animation and games. A must-have text for any post professional's bookshelf, the book might also serve as a timely reminder to today's new generation of producers and directors that the art of Foley remains alive within a number of post-production centers around the world, and can add that all-important aspect of reality that a film or TV show needs to take it from so-so to truly involving. f (Editor's Note: An interview with this book's author, Vanessa Theme Ament, appears on page 36 of this issue.) MOV, MXF and AVI. In addition, there is comprehensive interchange with other applications such as Avid, Pro Tools, FCP and Resolve with AAF, OMF, EDL and Film Cutting Lists. Like the free version, Lightworks PRO also allows for export to an MPEG-4 distribution format for the web, Vimeo and YouTube, but enables you to do so at the higher resolution of 1080p, in addition to Blu-ray and DVD. How much will you have to fork over for Lightworks PRO? After all, that is a lot of functionality. Well, how does $79.99 for a yearly subscription sound? That's right, for that frugal annual sum you could have a powerful and professional editing platform on your desk — the same that was used to cut many a famous feature film. That's less expensive than any other professional NLE. CONCLUSION Lightworks is more than just another NLE wannabe. It is a thoroughly tried-and- tested editing platform that has been used on high-profile feature film projects. It also delivers the features that professional editors require. As mentioned above, Macintosh users looking for an economical alternative to Final Cut will find this new version compelling. Windows and Linux users who want to configure a powerful NLE for high- end projects without spending a bucket of cash will also find Lightworks an attractive choice for serious editing challenges. In addition, one should also take a look at EditShare's other products, such as its innovative storage systems that deliver high-stream counts, integrated media management, speedy throughput and smooth operation for high-end editing suites and enterprises. And you don't have to use Lightworks to take advantage of its shared storage. EditShare is known for its advanced project-sharing capabilities for Avid, Adobe Premiere Pro, Apple Final Cut Pro and, yes, Lightworks. For more information, visit www.lwks. com/. f EDITSHARE CONTINUED FROM PAGE 44 A Star Is Reborn... CONTINUED FROM PAGE 15 LABOR MATTERS CONTINUED FROM PAGE 48 Foley CONTINUED FROM PAGE 49